Pod 366: A Weird Movies Podcast

POD 366, EP. 127: PREPOSTEROUS PODDING WITH PENGUIN PETE

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Discussed in this episode:

The Actor (2025): An actor has amnesia in the 1950s. , who co-directed Anomalisa with Actor director/co-writer , is a producer. Now on Blu-ray and VOD. Buy The Actor.

Cloud (2024): returns with the story of an alienated black marketeer. One reviewer, at least, called it “unflaggingly weird.” In theaters now, will doubtlessly show up in the Criterion Collection down the road. Cloud at Janus Films.

Crumb Catcher (2023): Read Giles Edwards’ review. The modestly-budgeted black comedy gets a great release from Arrow, with director’s commentary, making of featurette, two short films, and a booklet. Buy Crumb Catcher.

Finally Dawn (2023): In 1950s Italy, an actress gets hired as an extra for a historical film; the meandering story follows her on an “endless” night. Reminiscent of Fellini and loosely based on the actual story of an extra who wound up dead, the movie features Lily James and and is frequently described as “surreal” (without elaboration). In limited theaters. No official site located.

Saint Clare (2024): Bella Thorne stars as a religious zealot/serial killer in this heavily stylized thriller from . In limited release. No official site located.

The Surfer (2024): Read Gregory J. Smalley’s Apocrypha Candidate review. A weird psychothriller about middle-aged masculinity starring the always weirdly watchable . You can buy the 4K/Blu-ray “High Tide” Limited Edition directly from Lionsgate or buy or rent The Surfer on VOD.

Wishful Thinking (202?): Just-announced project pitched as a “surrealist relationship comedy.” It will be the debut feature from video-game designer Graham Parkes, and Lewis Pullman and Maya Hawke are attached as leads. Our guess is they are using the phrase “surrealist” loosely—surreal romcoms are a true rarity—but we shall see. Read more at Variety.

WHAT’S IN THE PIPELINE:

Next week, Pod 366 will check in on Giles Edwards remotely at Fantasia Festival 2025—and we’ll see if he scrounges up a guest to chat with. In further YouTube content, Pete Trbovich curates another “10 Weird Things” video as he feasts on Blood Diner (1987). Turning to the written word, Shane Wilson visits The Magic Toyshop (1987); Enar Clarke writes up ‘s ghostly Morgiana (1972); Gregory J. Smalley hunts down Alma & the Wolf (2025); and Giles Edwards will drop irregular updates from the 2025 edition of the Fantasia International Film Festival (including and ‘s latest, Reflections in a Dead Diamond, a riff on the spy genre). Onward and weirdward!

Capsules

CAPSULE: ELSE (2024)

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Else is currently available for purchase or rental on video-on-demand.

DIRECTED BY: Thibault Emin

FEATURING: Matthieu Sampeur, Edith Proust, Lika Minamoto

PLOT: A shy young fellow and an outgoing woman he recently met shack up together during a lockdown as a strange, body-altering disease runs rampant worldwide.

COMMENTS: Intricate foley work, meditative shots of organic geometry, creepy flesh holes in the wall, a sparky female protagonist, and laconically philosophical overtones: Thibault Emin’s narrative feature debut is a mélange of ingredients as offbeat as the inhabitants of an apartment for the cinematic French middle class. There’s whimsy; there’s melancholia; there’s paranoia; there’s political messaging; the style’s heady as a strong cognac; and there are lots and lots of creepy body morphing closeups, leaving to the viewer to run the cerebro-emotional gamut from “Oooh,” to “Ick,” to “Hmm..” And it’s accomplished with tasteful eroticism sprinkled throughout.

This is art-house drama with requisite lashings of romantic comedy. The aptly named Anx, who is often anxious, doesn’t quite fear being with others, but rarely seeks their company. He prefers to tinker away amongst the relics of his childhood home. He hosts a party, however, and there makes the acquaintance of Cass, a manic-pixie-dream-girl in the true French mold, who first forces him out of his shell, before the strange disease converts her into his… But I’m getting ahead of myself. Anx and Cass are stereotypes in many ways, but at least they’re believable. (Having attended a particular variety of liberal arts college in the early Aughts, I have met both of these archetypes in the flesh.) Seeing as we spend nearly the whole film with this pair, in one apartment, it is no small relief that their doings remain largely within the realm of the relatable and interesting.

Far more interesting is the nature of the affliction which begins striking down the world’s citizens within the first twenty minutes or so. It’s a skin condition (you have been warned), which has hints of mineral development along the lines of metamorphic rock formation (you have now been intrigued, I’d wager). The makeup effects—eventually morphing into set design, if you gather my meaning—are a wonder to observe, as the victims struck down by this ailment do not simply die: in most cases, they become something Else.

Else‘s building blocks are sourced, built, compressed, stretched, and twisted from and into any number of things. And the title and film—like the featured disease—isn’t explainable: it’s just there. There for us to ponder on, chuckle at, think about, and occasionally reel from with squicky ill-ease.

WHAT THE CRITICS SAY:

“To be honest, the theme of the movie should’ve tipped you off already, but just in case, get ready for goo, sticky things, and lots of weird close-ups…” — Lucy Muñoz, Cut to the Take (contemporaneous)

Capsules

CAPSULE: GWEN AND THE BOOK OF SAND (1985)

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Gwen Et Le Livre De Sable

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DIRECTED BY:

FEATURING: Voices of Michel Robin, Lorella DiCicco, Armand Babel, Raymond Jourdan, Jacques Ruisseau

PLOT: Sometime “After the gods have left…”, what remains is a desert landscape in which a few animals and nomads make their home; the only danger being the Makou, something that drops objects of various size onto the desert floor, forcing the nomads to live underground. Gwen, an orphan, falls in love with a strange boy, Nokmoon, who is taken away one night by the Makou. She and Roseline (a 173 year old woman) set off on a journey to retrieve him; in doing so, they encounter a mysterious cult.

Still from gwen and the book of sand (1985)

COMMENTS: The post-apocalyptic tale is a genre of its own, but when you take post-apocalypse and desert and put them together, you get The Road Warrior. It’s practically the template followed by its own sequels and countless homages/ripoffs. And when it comes to non-apocalyptic sci-fi/fantasy, the template is Dune. These stories are usually heavily plot-driven, with a relentless forward momentum.

Gwen is desert post-apocalypse in a poetic mode. The title might make one surmise that the title character will undergo a series of adventures and challenges for the next hour or so, but it’s not so. The movie is gentler than that. It’s paced leisurely; there is a plot, but it drives lightly. Instead, the film focuses on visuals: characters walking across the sands on stilts, landscapes littered with objects such as oversized utensils and eyeglasses, close-ups of the pincipals. And it’s all the more striking for being animated with a gouache paint palette, which softens things, giving the impression of a dream. (One visual reference that I twigged was Henri Rousseau’s “The Sleeping Gypsy.”)

Gwen is about mood and atmosphere: the surreality of the landscape, how the nomads live in this world, how they hunt, how they travel. There’s little explanation of how this desert came to exist, other than the oblique “the gods have left,” or of the Makou. And that’s to the film’s advantage, especially as things get more surreal and the introduction of the Makou Cult (which includes pointed satire of religion). Although there are what could be referred to as “antagonists,” there’s no outright villain, as there would be in a more standard treatment. The music of Pierre Alrand, a longtime collaborator of Laguione’s, adds to the moody atmosphere.

Fantastic Planet, another French animation with a similar mood and adult approach, is Gwen‘s closest relative. Planet, however, is much more brutal in approach. Gwen is made for adults, but it’s family-friendly—although it’s probably way too slow and not antic enough for young children (although the visuals may attract them). Older kids could get more out of it, though again it’s paced much slower than current animated films. Fans of , and especially of Nausicaa of the Valley of the Wind, might also get into the film’s rhythm and mood.

Gwen‘s first ever U.S. release on 4K and Blu-ray comes from Deaf Crocodile, in a limited or standard edition. The movie has a commentary by Samm Deighan, along with an interview with director Laguionie by Dennis Bartok and an intriguing video essay by Dr. Will Dodson and Ryan Verrill. The Limited Edition includes a 60 page booklet with essays by Laguionie, film historian Jennifer Barker, and critic/DC house writer Walter Chaw, as well as a slipcase with new art by Beth Morris.

(This movie was noimated for review by Russa03, who said it was “a surrealist, post-apocalypse animation and it’s beautiful to boot.” Suggest a weird movie of your own here.)

Gwen And The Book Of Sand (4k UHD + Blu-ray)

Gwen And The Book Of Sand (4k UHD + Blu-ray)
  • A teenage girl and her 173 year old companion take an epic journey in French director Jean-François Laguionie's hauntingly poetic animated classic.
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Capsules, It Came from the Reader-Suggested Queue

IT CAME FROM THE READER-SUGGESTED QUEUE: COOL CAT SAVES THE KIDS (2015)

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DIRECTED BY: Derek Savage

FEATURING: Derek Savage, Erik Estrada, , several innocent children who don’t deserve to have their good names sullied by mentioning them here

PLOT: Cool Cat, a human-sized bipedal feline who loves you and himself in equal measure, spends his days learning important life lessons, watching Daddy Derek engage in various self-improvement pastimes, and creating rock songs about love, friendship, and the general awesomeness of being Cool Cat. 

COMMENTS: This is potentially the most perilous review I’ve ever written. After all, when the video blog “I Hate Everything” decided to share its assessment of Cool Cat Saves the Kids, the helpful feline’s caretaker, Derek Savage, launched an all-out assault on them, allegedly impersonating a lawyer to issue threats and soliciting a DMCA takedown order from YouTube. (Another YouTuber with whom Savage sparred, YMS, produced a follow-up video to explain copyright law and the Fair Use doctrine.) So while I’m hopeful that the passage of a decade will have softened Savage’s feelings toward critical opinions, one can never be sure.

So let’s tread carefully, because we rarely venture into the genre of children’s safety videos. As anyone who has had a child anytime in the past two decades knows, there is a massive market for peppy, carefully-worded productions that use some sort of animated or costumed character to import crucial lessons about staying alive in a dangerous world, covering topics from traffic safety to home safety to stranger danger. They are often amateurish, frequently unbearable to the adult mind, and sometimes very effective with their young audience. So if we’re being charitable, we could say that Savage spotted an opportunity to use his skills as a Hollywood extra and Playgirl model to advocate on behalf of the kids. If we’re less than charitable, we might say that he saw a marketing opportunity.

What gets Savage mentioned in the same sentence with legends like Ed Wood and Tommy Wiseau are his deeply lo-fi moviemaking skills. Beginning with the goofy Comic Sans opening credits (which include a credit for Cool Cat himself as, of all things, associate producer), the whole production has big Vegas-suburb energy, with plenty of scenes located in someone’s guest bedroom that has been decorated with pictures of Cool Cat and signs reading “Cool Cat Loves You,” desperate improvisation that take the form of characters describing every action they take, some wonderfully melodramatic child acting, and a hero whose primary action is to holler “Yay!” at every opportunity. Cool Cat is happy about absolutely everything, and every dicey situation is resolved with Cool Cat’s commitment to just, you know, not do the bad thing and then launch into a green-screened musical interlude about being cool. So repetitive and unengaging is the film (which is actually a mashup of three separate Cool Cat shorts) that it Continue reading IT CAME FROM THE READER-SUGGESTED QUEUE: COOL CAT SAVES THE KIDS (2015) →

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